调音

Article proposal, hit the norm that the mobile phone should observe to include: When calling, enquire whether the other side facilitates right now first receive listen; Do not use malapropos ring, incoming telegram ring should as far as possible not seductive, the mobile phone should be shut in hospital, cinema and dining-room or move Cheng Jingyin condition; Like when attend a meeting or attending social activity, must receive hear a telephone call, avoid to be received below the eyes of the public are fixed on sth listen, and the person that should leave room occasional temporarily is far from a crowd, reduce sound to move.

文章建议，打手机应遵守的准则包括：打电话时先询问对方此时是否便于接听；不采用不合时宜的铃声，来电铃声应尽可能不引人注重，在医院、电影院和餐厅中应关闭手机或调成静音状态；如开会或出席社交活动时不得不接听电话，避免在众目睽睽下接听，而应暂时离开房间或者远离人群，并降低声调。

However, when he transcribed string music for the keyboard (as in the first movement of the Sonata for Unaccompanied Violin in C Major or the entire Partita for Unaccompanied Violin in A Minor), he added a number of these ornaments for emphasis.

然而，当他将弦乐改编成键盘乐时，（如：小提琴无伴奏C大调第一乐章奏鸣曲或小提琴无伴奏A小调变奏曲），为强调重音，他增加了许多这样的装饰音。

The flamenco version of this mode contains two frequent alterations in the 7th and, even more often, the 3rd degree of the scale: if the scale is played in E Phrygian for example, G and D can be sharp.

这种调式的弗拉门戈包含在音阶第七度、更经常是在第三度上的两种频繁的变音：例如，如果音阶是在弗利基亚 E 调式上，那么 G 和 D 就是升调。

When she played her final Carnegie Hall performance — the chamber version of Mozart's Concerto No. 12 in A (K. 414), with the Tokyo String Quartet, in November 2002 — The New York Times reported that,"The small details — the trills and turns that adorn the score — as well as the more expansive pianism in the cadenzas and the glowing Andante, had considerable energy behind them."

当她在卡耐基音乐厅做最后的演出时——在2002年和东京弦乐四重一起演绎的莫扎特第12协奏曲（A调K414总谱）室内音乐厅版——纽约时报如是报道，"颤音和转音——这些装点乐曲的细节，以及在句尾更具扩张性的钢琴演奏技巧和洋溢着的舒缓节拍，这些背后有着强大的能量。"

Chinese composers and theorists have conducted great deal of exploration and systematic research on the "evolution of chromaticalization", which has been frequently used in the composition, but are considered by the theorists as chromatic chords, polytonality and pentatonic twelve-tone sequence, etc.. Seldom were the usages accounted for "chromaticalization" to which, consequently, little attention has been paid.

中国作曲家及理论家在对于西方音乐"半音化演进"方面做过大量的探索和系统的研究，"五声性半音化"在中国作曲家的作品中被频繁地使用，但大量的创作实践大都被理论家们总结为变音和弦、多调重叠以及五声性十二音序列等的使用方法，并没有从"半音化"的角度说明它们的规律，致使一直以来未引起人们的重视。

Of course syncopation and blues are only part of the jazz picture.

当然，切分音和蓝调只是爵士的一部分。

On the other hand, look at the first notes of the melodies of the second movement of the Italian Concerto, the Adagio of the Organ Toccata in C Major, and the Toccata and Fugue in D Minor: all of the begin with some kind of ornament, because they were written for Baroque keyboard instruments.

另一方面，看意大利协奏曲的第二乐章、C大调慢板管风琴托卡塔、D小调托卡塔与赋格的曲调的第一个音符：它们都开始于一些好的装饰音，因为他们是为巴洛克式键盘乐器所作。

The scherzo which follows, in the tonic minor (i.e. A minor), prominently features off-beat accents and is interspersed with a trio in the major that is heard twice.

接下来的谐谑曲是第一乐章的主音小调，突出的不对拍的重音配合大调上的装饰震音出现了两次。

Among these three concertos, the『Trumpet Concerto in E major』by Johann Baptist Goerg Neruda (1707-1780) is the earliest, and also relatively less-studied one. This paper analyses the melodic structures of the solo part of all three movements of this concerto, and discusses the pedagogical strategies for them.

其中由约翰巴普提斯特乔治尼达(Johann Baptist Goerg Neruda， 1707-1780)所创作的『E大调小号协奏曲』，但是三首中最早被创作的，也是在音学术界相对较少被深入探讨的一首本文系乃针对『尼达小号协奏曲』全曲的三个章中，小号独奏旋的部份加以分析，并探讨其教学策，作为本文之主轴。

The major pentatonic scale is a five note scale.

大调五声音阶是指由五个音组成的。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。